Guitar Amps

Keith Williams sent this in to be made as good as possible. In this first video I go through the amp and see what works needs doing.

If you don't know Keith and his excellent channel...

/ @fivewattworld

— — — — — — — — — — — — — — — — —

These are things I get asked about a lot :

Amp Tech Gear Used :

Hakko FX-951 soldering station Weller SPG 80L soldering iron (chassis work) Rigol DS1054Z digital oscilloscope Thsinde 18B+ digital multimeters Kester 60/40 solder Techspray #4 No-Clean Desoldering Braid

Below are things that make this channel possible that people don’t usually think about. If any of these companies want to send me new and wonderful toys, I’m open to that. I can’t take free stuff when it comes to the amps I review, etc, but for the stuff below, bribe away!

Microphones/Audio Equipment :

Guitar Amps : Royer R-10 Hot Rod and/or Shure SM57 (noted in videos) Voiceover Bench : sE Audio sE8 (small diaphragm condenser) Voiceover Streaming : Shure SM57 with shockmount and windscreen Voiceover Mic Arms : Elgato Wave Mic arms Guitar Mic Stand : Gator Frameworks short weighted base stand with boom Mic Cables and Guitar Cables : Mogami/Neutrik Mic pre : MOTU M2 DAW : Logic Pro II on MacBook Pro 16 running Sonoma 14.5 Plugins : No effects other than level matching/normalization unless a recording specifically has reverb etc added in post (rare, various Waves plugins) Monitors : Yamaha HS7s Monitor Stands : Gator Frameworks Desktop Clamp-On Stands Monitor Isolation Mounts : IsoAcoustics Iso-Puck Minis Headphones : Beyerdynamic DT 770 Pro (main) Headphones : Sony MDR-7506 (alternate)

Video Equipment :

Camera : Sony ZVE-10 with SmallRig Cage (main) Lens : Sigma f2.8 18-50mm (main) Lens : Sony ZVE10 kit lens (rarely used) B Camera : Apple iPhone 13 Pro (rarely used) Tripod : SmallRig 71” with SmallRig Fluid Video Head Streaming Mount : Elgato Master Mount S with SmallRig Ballhead Bench Light : SmallRig RC 120D Bench Light Diffusor : SmallRig Lantern Softbox Bench C-Stands (light and overhead camera) : Neewer Pro SS Heavy Duty Streaming Light : SmallRig RC 120B Streaming Diffusor : SmallRig Parabolic Softbox Streaming Light Mount : SmallRig 148CM Wall Mount Boom with Triangle Base Various Other Lights : Neewer LED Panels with Neewer Softboxes

Video Software :

Davinci Resolve 19 Inkscape GIMP Because seriously, screw Adobe Ecamm Live (streaming software)

This piece of gear was a crucial and legendarily mysterious component to Allan Holdsworth’s legendary lead sound.

A new, unexpected musical partnership has been revealed recently — Magnatone shook hands with Guns N' Roses' legendary guitar player Slash. The news comes as a bit of a shock since Slash has been using Marshall stacks for some 30-odd years, and they've been a part of his image, equal to the top hat and sunglasses

Not quite an Audio Audit, But close. Todays video started out with the question, "Who owns Victory amps?" But the more I uncovered the more it became a video about Andertons and Lee Anderton. Disclosure of ownership of brands is required by law. There shouldn't be a need to do a full scale investigation.

In this video, we'll look at a 1971 Hiwatt Custom 50 in need of some service attention. We'll also set the bias and talk about the pros and cons of setting the bias according to onset of crossover distortion on the oscilloscope vs the 70% plate dissipation rule. In the end, we'll demonstrate the tone in a band setting, complete with bass and drums!

cross-posted from: https://lemmy.fwgx.uk/post/20241

I have just spent almost 5 days trying to rid the interference noise (and at one point the radio) from my speakers that started when I setup my new Behringer audio interface.

Signal chain: Peavey Classic 20 MH -> XLR -> Audio Interface -> NAD hifi amp -> speakers.

I must have tried at least 20 different things, so many youtube videos, including complete rewire of pc cables, usb, power cables. Different power outlets, with and without the UPS, extension cables from different floors of the house, turning off the tumble dryer, removing smart plugs, different cables, different usb ports, turning everything but the amp and interface off. Bought a noise canceling usb (ifi Defender+)- made things maybe a bit better when unpowered, made things worse when powered. So much crawling around under my desk! It was only an issue when the XLR was connected from my guitar amp, whether the amp was on or not - XLR unplugged PC audio was fine. Thought I'd try a different power cable to the amp - unplug the existing one and all hell break loose - SO MUCH NOISE AND INTERFERENCE!! Give up on the power cable idea. Then I unplugged the XLR and decided to try the headphone output of my guitar amp in to the interface. Whilst reaching around the back of the amp I see a small switch labelled "ground lift". Press it. Problem solved! Almost no noise. If I had happened to have that pressed when I bought the amp over a year ago I'd have had no problems. FFS!

And now the ifi Defender+ does work and has made everything perfectly quiet when nothings playing. No more annoying noises when I move the mouse with a fuzz pedal on. Really nice, so a pretty good result overall, but so much effort!

So remember kids, if you have a noise issue, check if your equipment has a ground lift button. I didn't see a single YT video that mentioned ground lift and I didn't even know they existed or that my amp had the button even after I was sure it was a ground loop issue.

There is a lot of conflicting information on the Internet regarding the effect of output tube bias on amplifier tone, gain, and headroom. In this video, I will set up comparisons to allow us to determine once and for all, what the truth really is. Using digital recordings at 40%, 50&, 60%, and 70% of max PD for grid-biased 6V6's, we will audibly determine the relative tone quality, then using an audio editing program we will analyze respective gain for each percentage, then using an oscilloscope we will measure the output power of the amp, just prior to the onset of clipping, at each bias percentage to see if output power (i.e. volume or headroom) is related to bias.

In our second feature we will analyze in detail, the differences between the classic AB-763 Blackface Deluxe Reverb circuit and each of the circuits found in the Silverface models made from 1967 to 1977. We'll see which SF changes should be reversed to achieve BF tone, and which should not.

If you enjoy advertising-free videos like this one, please SUBSCRIBE to our channel and consider becoming a Patreon patron at https://www.patreon.com/uncledougsvin... or making a PayPal contribution to account: dldcam@aol.com Thanks so much for watching and supporting our channel.

I am indebted to the http://fenderguru.com/ website for some of the schematics and insights presented in this video. Do yourself a favor and check out their excellent site for a wealth of information regarding vintage Fender amps.

cross-posted from: https://lemmy.world/post/1471444

Welcome to the show! Today’s video is about offering some solutions to a real-world issue faced by many people - taming volume in a loud clean amp, but retaining a little bit of feel and dynamics. We’re using the specific example of the Fender Hot Rod Deluxe III - an extremely popular and great sounding amp… but a goodly number of people have struggled with the somewhat all-or-nothing volume control.

Mark Bartel was kind enough to let me hangout and shoot some B roll of the shop!

Bartel is, in my opinion, among the top amp builders alive today.

Step by step, the amp is regaining it's former glory.

cross-posted from: https://lemmy.world/post/1363550

I've only ever played through a single amp, but would like to try out a wet/dry rig. I currently play thru an Orange Crush 35rt with all my modulation/time in the effects loop. I was never dissatisfied with its clean tone, and even running the dirty channel I keep the gain low so I can clean it up with the guitar's volume. So I'd be open to having the Orange on either side, though my inclination would be to have it on the dry side.

The little brother to this amp, the Swart Atomic Jr. is my all-time dream amp. These amps are masterpieces for reasonable prices.

There's a lot of debate about what's the GREATEST AMP EVER MADE, but what if we try to whittle it down to the Greatest FENDER AMP ever made... I think I have found the answer. This is a 1966 Vibrolux Reverb. The 210 Vibrolux Reverb featured push-pull 6L6GC output and sat between the 112 Deluxe Reverb with 6V6 tubes and the larger Pro Reverb, Vibroverb, and Super Reverb, which all had more and bigger speakers with 6L6GC output. I used to think the Deluxe Reverb was Fender's finest model because of its balance of size, weight and features, but for my money, the 212 Vibrolux Reverb combo is a slightly better choice. -Brad The Guitologist